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Are new or vintage drums better?

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THE soaring yen is sure to have an impact on local prices for Japanese hi-fi and video products, but the stronger currency is not all beer and skittles for companies who produce their goods in Japan. An increasing number of Japanese firms are moving production lines off-shore to countries such as Mexico to beat rising costs and stay competitive in traditional markets. The Pioneer Electronics hi-fi, video and car sound conglomerate is no exception.

View Site: https://medium.com/@carspeakerland/a-guide-to-the-simple-way-difference-in-car-speakers-2-way-3-way-4-way-25e0bf215b00

[IMG]https://i.imgur.com/gMjwAO1.jpg[/IMG]

However, one operation the company won't find easy to relocate is the Pioneer Cone Corporation, which makes cones for loudspeakers and is likely to stay nestled in its idyllic rural setting beneath snow-capped mountains, at Mogami, in the north of Japan's main Honshu island. Apparently, you can't just set up shop anywhere and begin churning out sought-after, pedigreed speaker cones at the drop of a hat. This cone factory relies on bountiful supplies of water but not any old water.

Mogami's clean pure water ideal for manufacturing paper speaker cones abounds 100 metres below ground level where natural caverns are replenished by expanses of melting snow on nearby mountains. According to engineers at Pioneer the pH factor of the water at Mogami is also unique to the area and contributes significantly to the classic sonic quality and reliability of the paper cones that are produced there. As might be expected, many of the speaker cones find their way into loudspeaker systems used in Pioneer's own extensive range of hi-fi audio and in-car sound products but the corporation also customises cones for other manufacturers, including many of Pioneer's competitors who market their hi-fi audio and in-car sound equipment under different brand names.

At Mogami the water is used to blend and dye various combinations of up to 38 types of carefully selected wood pulps and fibres to create as many as 500 new cone materials. Pulps used in the process are imported mainly from Canada and Finland and are selected for special characteristics such as their density and fibre content, which are critical to the end product's musicality, depending on the application. According to Pioneer, each blend lends unique timbrel qualities and durability to the end product.

Read more: https://www.scoop.it/t/how-to-choose-best-car-speakers-6x9-inch-6-5-inch-6x8-inch-4-inch

A mind boggling variety of samples from past production runs for the corporation's customers around the world is kept stored at the factory, for sampling and test purposes. Speaker cones of all shapes and size, from tiny tweeters to huge subwoofers, are formed on dies, which are also made in the plant. Various wet and dry, and hot and cold processes that best suit the respective applications of the end product are chosen to press and dry the cones before they are trimmed to size. Subwoofer cones receive special treatment that kills off or limits unwanted high-frequency response, which would otherwise color their bottom-end performance, while cones for speakers destined to spend their life inside car doors where they are vulnerable to the effects of moisture receive a weatherproof coating.

Where physical torture of speakers is likely for example, exposed to heat, humidity and ultraviolet radiation for long periods inside automobiles the cones and surrounds are formed from injection- moulded polypropylene and other synthetic materials. These are also being produced in greater numbers at the Mogami factory. With the rising cost of paper, it is conceivable that synthetic cones could eventually become cheaper to make than their paper counterparts, but, as a Pioneer official assured me, the sonic quality of paper cones virtually assures their future, especially for audiophile and other hi-fi applications.

By way of an interesting byproduct, pulp-blends used at the Mogami factory to make paper speaker cones that will be hooked up to a hi-fi amplifier or public address system to make noise, is also used in the manufacture of acoustic tiles to deaden sound. Cone material must have a high acoustical loss so that sound is prevented from travelling within the cone and causing distortion. The high-loss, or absorptive factor required in the cone for that purpose is equally effective for tiles. The tiles would normally be applied to walls and other surfaces to reduce noise and reverberation in a sound studio or an excessively "live" room, or other noisy area.

A super oil-absorbent sheet, which helps in the prevention of water pollution, is another innovative product turned out at the cone plant. Speaker cones at Pioneer can and do end up in interesting places. Not all are assigned to prestigious audiophile products such as the company's Model SU4-UK hi-fi loudspeaker enclosures. For instance, at Tendo City in Japan some of the healthiest roses you're likely to see, and scent, are being cultivated in Pioneer's "Miracle Farm" hydroponics system. The roses there are encouraged by sound, to grow under controlled conditions in a series of experiments conducted using the application of vibration and magnetism. Pioneer's Bodysonic driving unit was used in the vibration tests.

[IMG]https://i.imgur.com/KAp8FPa.jpg[/IMG]

Bodysonic is an armchair that has inbuilt drivers that literally bathe your body in subsonic bass while you listen to the upper parts of the music spectrum through speakers or headphones. The company expects to create a new era in plant cultivation. More details about Pioneer Products: Pioneer Australia P/L, 178 Boundary Road, Braeside, Victoria 3195, telephone Freecall 1 800 338 439. Les Cardilini attended on-site media briefings in Japan at the invitation of Pioneer Electronics Australia. CLOSER to home, a 13cm injection moulded polypropylene cone in Pioneer's space saving hideaway car sound subwoofer model TS-WX50 tucks snugly away out of sight and safer in the hub of a spare wheel. The TS-WX50 (above) spare tyre enclosure suits most 13-inch (33cm) or larger wheel sizes.

See Also: https://www.linkedin.com/company/easytochoosethebestcarspeakers/

The five-litre, Tandem Duct Bass Reflex enclosure is self contained and is easily installed in most vehicles without taking up valuable space elsewhere. Power handling is rated at 150 watts, maximum. Bass sound launched through the tandem ducts on the TS-WX50 is normally undeterred by the thin floors and boot walls that are typical of many vehicles. An audition of a system using the Pioneer TS-WX50 in a small hatchback (pictured right) left no doubt that the spare tyre subwoofer was alive and well under the floor in the back. Rated frequency response is 35-2,000 Hz and the impedance is four ohms. The TS-WX50 was recently released for sale in Australia.

Posted on 7 years ago
#1
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That's a question that's basically unanswerable, I'm afraid, as there are various schools of thought as to whether old drums are better versus new drums. It comes down to what you like. I know that Slingerland drums made in the thirties and forties during the swing era were often crudely made, but Gene Krupa and many others played them, and they had a certain magic about them. Slingerland quality improved greatly in the fifties and sixties, and reached its apex in the early seventies, IMO. Ludwig drums are not to my liking, but many players love them, as they do old Gretsch drums, also a brand that does nothing for me. Vintage Rogers drums were the "bling" drums of their era and the quality is superb. Vintage prices are high. Some players really like certain types of Japanese-made drums from the sixties and seventies, many of which can be gigged, but often need work. Tama, Pearl and Yamaha were making drums back then with a multitude of names on them, like Stewart, Zim-Gar, Star, Crest, Whitehall, etc.

Today, drums are made to more exacting standards than they were back in the golden years of the American drum industry. Personally, I think that any halfway decent modern drumset with good heads and proper tuning, can be gigged, used and enjoyed for years, but like anything you buy, you get what you pay for. If you spend $150 on a cheap offshore beginner set, you're going to get junk. But if you have a budget of $1000 or less, you can do very well indeed, and even better if you buy a well loved good quality used set.

Vintage drums have a look, sound and vibe that you either like or you don't. It's ironic that just about every major drum company today is trying to reproduce those qualities in their drums to a certain extent. Some more than others. I urge you to look around and try some new drums and vintage drums to see what floats your boat. This forum is a great place to ask questions.

Posted on 7 years ago
#2
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Hey guys..i play pearl wood fiberglass drum kit,1972 model..awesome sound! i have a mate who bought a new issue one..and you know what...they sound very similar!! rich and boomy. the way pearl made them back in the day is what made them big now i think..

When we learned drums at school.. the wood fiberglass drums were the thing, good on pearl for reliving this kit :)

Posted on 7 years ago
#3
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Clapping Happy2

From DrumBob

That's a question that's basically unanswerable, I'm afraid, as there are various schools of thought as to whether old drums are better versus new drums. It comes down to what you like. I know that Slingerland drums made in the thirties and forties during the swing era were often crudely made, but Gene Krupa and many others played them, and they had a certain magic about them. Slingerland quality improved greatly in the fifties and sixties, and reached its apex in the early seventies, IMO. Ludwig drums are not to my liking, but many players love them, as they do old Gretsch drums, also a brand that does nothing for me. Vintage Rogers drums were the "bling" drums of their era and the quality is superb. Vintage prices are high. Some players really like certain types of Japanese-made drums from the sixties and seventies, many of which can be gigged, but often need work. Tama, Pearl and yamaha were making drums back then with a multitude of names on them, like Stewart, Zim-Gar, Star, Crest, Whitehall, etc. Today, drums are made to more exacting standards than they were back in the golden years of the American drum industry. Personally, I think that any halfway decent modern drumset with good heads and proper tuning, can be gigged, used and enjoyed for years, but like anything you buy, you get what you pay for. If you spend $150 on a cheap offshore beginner set, you're going to get junk. But if you have a budget of $1000 or less, you can do very well indeed, and even better if you buy a well loved good quality used set. Vintage drums have a look, sound and vibe that you either like or you don't. It's ironic that just about every major drum company today is trying to reproduce those qualities in their drums to a certain extent. Some more than others. I urge you to look around and try some new drums and vintage drums to see what floats your boat. This forum is a great place to ask questions.

Posted on 7 years ago
#4
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Yeah...that's a vast question(s).

Everyone has preferences; sound wise, look wise, build quality wise, etc etc.

I use the right tool for the job. Some gigs/recording sessions I do require a more "modern" tone. However, my personal preference is vintage era kits (50's/60's and 70's, MIA's/MIE's and MIJ's). Why? Firstly, always the sound, then the feel, look, build, etc etc. I also enjoy the history with them. Imo, nothing feels more "like home" to me, then one of my vintage kits. Love them.

If you're new drumming, and are looking for a kit, I suggest trying the gamut...see what sounds and feels good to YOU. Drumming should be fun.

Enjoy :)

Posted on 7 years ago
#5
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Good advice. Try all kind of sets and see what works. As you can see, I own a combination of new and old sets. The DWs are awesome drums, but so are the vintage ones.

Posted on 7 years ago
#6
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I suppose "vintage" depends on the age of the OP:D For me, in my mid-40's 50's and 60's kits are "vintage". For the OP 80's and 90's kits may be "vintage". I agree with the posts above insofar as vintage drums are concerned. I own 2 vintage kits (Ludwig and Yamaha) and prefer them over my Tama Starclassic kit - the sound, yes, but the whole look, feel and vibe is the main reason (as those Tama's sing!)

For the OP - a good used kit is, in my view, always a better deal - look for something like an 80's or 90's Tama Rockstar kit - great quality, solid hardware, great sound, great value and with the right heads and tuning sounds as good as kits many times its value - and use the savings to buy some good cymbals!

JM2CW

Drums: Ludwig / Star / Tama / Yamaha
Snares: Arai /Mapex / Ludwig / Slingerland / Star / Tama
Cymbals: Meinl / Paiste / Tosco / Wuhan /Zildjian / Zyn
Posted on 7 years ago
#7
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I'm with DrumBob. It is a difficult question to answer. I don't have one either, but here's an interesting observation I'd like to share with you. While I enjoy restoring old drums, and I've played Pearl from my first drum set in the late 60's, once in a while I come across a used modern era drumset at a price that is simply too good to pass by for a quick re-sale. Right now I have a mid-2000s Ludwig Accent Combo set in a gorgeous tobacco fade finish. As I broke down the set for a what I call a Vintage Drum Forum "detailing," I was amazed at the degree of craftsmanship in what is considered a near entry level set most likely bought for $600-$700 complete with throne and entry level brass cymbals. When I think of my first Sears catalog-style blue sparkle Zim/Gar Japanese set and comparably consider the near entry-level Luddy set, it's hard to deny that the finish, woods and the absolute gargantuan heavy duty stands Ludwig put with that set can only lead me to one conclusion. With computer technology and other modern manufacturing processes, I'd take the risk in saying a brand-name entry to mid level drum set made today is every bit as good (constriction-wise) as a professional brand name drum set made in the 1950-mid 70s era.

In the event your question implies you're trying to consider what kind of drums to purchase, in present day, you have a heavenly choice of new drums---entry to high end---and 100 years of vintage drums out there from which to choose. Experience as many as you can and heed strongly the advice mentioned by the other guys here: You really don't need that $3K set of custom Gretsch or DW drums to get your sound. A modestly priced set with good heads and good tuning-even a brand name entry level set-may be the one you end up playing all your drumming life. Hope that helps. Dean

Posted on 7 years ago
#8
Posts: 5550 Threads: 576
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Nothing compares to the sound of aged 3 ply music grade mahogany , which now a days you can't buy as it's endangered species .

April 2nd 1969 scarfed pink champagne holly wood and 65/66 downbeat snare, and , supra same year very minty kit old pies
66/67 downbeat with canister
Super 400 small round knob
1967 super classic obp





once the brass ceases to glitter, and the drum looses its luster, and the stage remains dark, all you have left is the timbre of family.
Posted on 7 years ago
#9
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Sorry, that "construction-wise."

Posted on 7 years ago
#10
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